Expectations as a Choir Director

The Buck Stops Here

Seriously,
when it comes to decisions about choir
and music ministry,
The Buck Stops Here.
Remember me?
I am The Choir Director.

Now,
I dabbled a bit in previous blog posts
about differing leadership styles.
More specifically,
about leadership styles
a choir director might have.

I tend to be a bit democratic in style.
I welcome suggestions from vocalists and musicians.
I welcome suggestions from the congregation
and most certainly from the pastor.
But in the end,
I make the decisions.
That’s just how it is.
It’s that way it is in the secular world
It’s that way it is in ecclesial life.
There’s always someone
who makes the decisions.

Again,
I’m a bit democratic.
If you don’t like a decision I’ve made,
do feel free to challenge me on it.
Ask me about my why I made it.
If you feel it infringes upon you as choir member,
do let me know.
I’m human, after all.
I may have overlooked a detail
about something.
Seriously,
I am approachable.

However,
I expect certain things from you as choir member
or as a musician accompanying the choir.

I expect you to attend rehearsals.
And if you cannot attend
I expect a phone call or email or facebook message
letting me know about your absence.
If you continue to be absent
you can expect
that I may just ask you to leave the group
until such time that you are able
to attend rehearsals.

I expect you to be prepared for mass.
I pass out any new music at rehearsal.
If you didn’t attend rehearsal
and didn’t call to let me know,
don’t expect me to have all your music
ready in order and waiting for you
for mass on Sunday.
As a choir member or musician,
I expect you to keep your music in order.

And I expect you to arrive early enough
so that you aren’t tuning your guitar
when the greeter is making the formal words of welcome
to the assembly gathered just before mass starts.
I expect you to sing/play the music as rehearsed.
(I expect no musical surprises at mass).

I expect respect for the other members of the group.
The person who plays maracas
is not more important than the person who plays tambourine.
The bass player is not more important
that the person who sings the psalm.
Remember 1 Corinthians 12???
This applies to music ministry as well.
Respect each other
because we need and complete each other.

If you would like to help out with the Children’s Choir
I most certainly would welcome that.
I do so need help with that ever changing group.
However,
I expect you to participate in the archdiocese’s
Protecting God’s Children Program.
Please don’t show up for children’s rehearsal or mass
and want to help if you haven’t completed this course,
or don’t at least have plans of taking this course
in the very near future.
I will be forced to ask you to leave.
I’m sorry if you feel this infringes upon you as a volunteer.
Decision makers, remember them?
Leaders in the Church have decided
that this course is necessary for maximum safety of our children.
And in all honesty,
I can’t say I disagree.
Yes, do come help with the children.
But be aware that as a choir director
I expect you take the Protecting God’s Children class.
That’s what I expect.

Sometimes the sound system works really great.
Other times, not so well.
I expect you to keep your eyes,
one on your music
and one on your director,
for cues regarding mics.
I may ask you to get closer to the mic
or to step away from the mic,
depending on how the sound is that day.
Be aware that the sound varies, also,
with the number of people in attendance.
When the church is full,
we need to eat the mic.
When there are less people
(like for daily mass)
we don’t need to be so close.
Sometimes it’s about the sound system.
Other times it’s about a full church.
And still other times,
it’s about appropriate use of the mic.
As a choir member,
I expect you to watch me
and watch for my cues,
regarding mics.

The same applies to musicians for the choir.
I expect you
to respect the fact
that I will decided
who is too loud
or not loud enough.
As musicians,
we accompany the choir.
We aren’t there for an overthrow.
Yes,
there will be times
when the musicians will do instrumental pieces,
or requinto style intros and interludes.
But if you don’t come to rehearsal,
don’t expect for me to ask you
to “requintear.”

If someone is going flat
(why this phenomenon
that singers go flat,
but rarely go sharp???)
I will give you a cue there as well.
Listen to the piano
as I tend to play an octave higher
to try and help get us back on pitch.
If I know who it is,
I will give that person a specific cue
to listen. . .
If you don’t know what I mean
when I say I will play an octave higher,
this means you haven’t been at rehearsal.
If you don’t know what my cue is
for “you’re the one who is flat, listen up,”
you haven’t been to rehearsal.
I expect to see you at rehearsal.
I expect you to follow my cues.

Yes,
watch my cues.
I decide tempo.
Period.
If the song is moving too slow or too fast,
I will decide that.
Again,
there are cues from your director
about tempo.
I expect you to pay attention.

I expect that all materials used
be put back into place when mass or rehearsal is over.
Anything less is showing a lack of respect
for your fellow choir members,
for the materials used for our ministry,
a lack of respect for me,
and a lack of pride and respect for the ministry itself.
I don’t want to be looking for the tambourine
only to find it hidden in a satchel at the far end of the closet.
And if the tambourine is not the instrument you play
I expect for you not to touch it all.
Period.      

And let me go on a bit of tangent here
and say that most of those hand-held percussion instruments
are owned by yours truly.
Some instruments were purchased here
at local music stores.
But many of these instruments I purchased south of the border
(the maracas, the guiro, the teponaztle).
I brought them in
because I thought use of them
could help enhance the music ministry.
As such,
I grow particularly angry
when they are not put in the proper place
or when they go missing entirely.
You can understand that, can’t you?
End of tangent.
          
OK, a quick summary:
-Come to rehearsal
-Inform me of absence
-Be prepared
-Be respectful
-Watch my cues
-Turn the volume down
-Step away from the mic
-And Quit Hiding The Tambourine!!!!!

In the end,
I guess a little friction, a little agitation
is always necessary.
It keeps us on our toes
(even me!!!)

End of Rubi’s Ramblings.

Children's Choir Concert - Detroit's St. Gabriel Parish - June 19th, 2010

The Children's Choir
of St. Gabriel Parish of Detroit
and
The Parish's Students of Classical Guitar
present
A Concert
on
Saturday, June 19th at 1:00p.m

The music will be bilingually performed (Spanish and English)
and will feature several children soloists,
including a duet and a trio.
Several children in the choir will also play various hand-held percussion instruments.
Several musicians will accompany the Children's Choir.

The students of classical guitar
are taught by none other than our pastor, Fr. Jaime Hinojos.
These guitar students will be our featured musicians.

Reception following the concert.

For a complete program line-up
and a list of the members of the choir and musicians
accompanying St. Gabriel's Children's Choir
Go Here.

This will be a wonderful event by some marvelous Detroit inner-city children.

St. Gabriel Parish
8118 W. Vernor Highway
Detroit, MI 48209
(313) 841-0753
(the concert is free of charge and the church is air conditioned!)

My Ensoniq

Musicians have an attachment to their instruments.
Whether or not that is healthy,
I cannot say.
But we do.
We become so very attached to the instrument we serve with.

I am no different.
I have a particular love for my Ensoniq.
She’s not your everyday keyboard.
She is the Rolls Royce of keyboards.

You can lay tracks.
I can play the piano, and then layer over that. . .
. . .with bass, with guitar, with whatever instrument
I think may be needed.
But it’s really all the keyboard.
All of the instruments are in her memory.
Would I ever decide to do studio work,
the main bulk of the work would be, could be
done at home on this instrument.

She is midi.
I can play and then play back on computer.
I can print the music
to that which was just played.

She has an idea pad
where I can store bits and pieces
of musical information
while a new piece is being composed.

She has a transposer.

I could write and write and write.
She has all the bells whistles.

I must say that it is her “Perfect Piano”
that made me fall in love with her at the music store.
It was such a rich sound,
such rich sounding bass notes. . . . .
I was sold.
That “Perfect Piano”
is the sound for which Ensoniq
gained her infamy.

But you see,
I didn’t buy her.
Purchase of this instrument
was a group effort.

I belong to a group called
“Cántico de la Mujer Latina.”
We originally formed to do a one-time event
for the National Association of Pastoral Musicians.
The NPM came to Michigan
for a regional convention in Grand Rapids.
Virgil Funk called me
and asked me to do something “hispanic.”
So,
I formed this group of Latinas
for a “Tarde de Alabanza”
(an afternoon of praise)
which featured music, poetry and theology readings
all written by Latina composers, poets and theologians.
It was to be a one time deal.
We’d rehearse,
do the event and that would be that.

However,
after that event,
we were flooded with calls to take our program
to this place,
to that place. . .
. . .could we serve for this mass. . .
For this women’s retreat. . . etc., etc., etc.
Some 12 years later,
Cántico del la Mujer Latina is standing strong.

Anyway,
Cántico purchased this instrument,
the Ensoniq keyboard.
One of our members gave a rather large donation.
The rest of the funds were raised
by concerts, selling holy cards, etc.
The group purchased this instrument.

A group of my very best friends
worked hard
so that I could have a keyboard
that we could serve with as a group.
A group of women
are so dedicated to their ministry
that they decided to raise funds
and purchase
that which was necessary.
And that which was purchased
was left in my care.

At the time of purchase,
the instrument alone
cost us about $3,500.00.
Add the Roland amp,
the keyboard stand. . .and. . .
well you get the idea.
This was a huge undertaking
by some women who serve
in the inner city.

The keyboard recently suffered some damage
and I have been absolutely beside myself.

The damage was done
at the hands of someone
who doesn’t even know me
and who had no authorization to move my instrument,
which he did in an absolutely abusive manner.

But I have been absolutely beside myself.
Why do I cry over a seemingly inanimate object?

After crying and reflecting on this for several days,
actually,
for about two and a half weeks,
I can only liken it to my house.
I purchased a new home about 51/2 years ago.

I recall being at the old house
on the day the water guy was to come
and take the last meter reading.
It would be the last day
I would ever be in that old house.
The house was way too small for my 3 sons.
And it housed memories of a failed marriage.

But that old house
also housed Christmas memories,
tooth fairy memories,
memories of my son’s friends spending the night. . . .
I cried and stayed in the house
long after the meter reader left.

We had already purchased
and moved into the new home
several months earlier.
It took awhile
for us to sell this old house.
And yet,
after the meter reader left,
I sat there, on the floor,
for quite some time
as there was no furniture
in this old house,
and I cried.

I love my home in Wyandotte
and have nothing but praise
for the city and my neighbors.
But every time I drive by the old house,
especially now that the new owners
have been foreclosed upon,
well, I must admit a little tear wells up.
There are memories
attached to that old house
that helped to form
the person that I am today.

It is no different with my keyboard.
I have memories attached to her.
These memories have helped to form
the pastoral musician I am today.
What memory
(besides the electronic one)
does this keyboard have?

As already mentioned,
purchase of her was a group effort.
And so,
this instrument will always hold memories for me
of those very special women
so dedicated to this purchase,
so dedicated to our very creative ministry.

She has been there with us
through many a concert.
She accompanied us
when we sang the Divine Mercy.

She has been present
for many a wedding, funeral,
and Quinceañera,
not to mention regular weekend liturgies.

She was there when my sister and I
were “dueling keyboards,”
she on the baby grand
and me on the Ensoniq,
at the parish where she serves
for a Día Doce mass
that I will never forget.
(Yeah, both my sister and my brother
are pastoral musicians!)

The Ensoniq has accompanied such groups
as
Les Petits Chanteur,
a boy’s choir from France;
and
Cantores Minores,
a boy’s choir from Poland

She has accompanied
Marambistas Fantasticos,
a youth marimba ensemble
from Chicago.

She prepared us for many out of town events. . .
. . .North Park University in Chicago. . .
. . . .Southwest Liturgical Conference in Albuquerque. . . .
. . . Basilica of Our of Guadalupe in Mexico City. . .

You see,
I do have memories attached to this instrument.
It is very much alive to me,
and not just alive with song.
I don’t know that this would make sense
to anyone
unless you are a pastoral musician.
But so be it.
I have an attachment to her.
And right now,
she is not feeling so well.

You see,
someone moved her
by grabbing her from the buttons and knobs
an then
proceeded to drag her,
totally unaware
that she was being moved
without her stand. . .
had I not stopped him
the instrument would have ended up on the floor. .
. . .he was totally unaware
that the amp she was connected to
was connected to a few other instruments as well.

She now jumps from sound to sound.
She will always start off
with her Perfect Piano,
but then quickly jumps
through her other assortment of instruments.
These instruments should not make their presence known
unless and until I invite them.
But,
since being moved so abruptly,
they are making their presence known,
and in no logical order,
and in no particular time frame.
The “C” just above middle c
is also way out of wack,
much louder than all of the keys,
regardless of which instrument
sneaks in.

It is not that easy
to find a repair person
for Ensoniqs.
The problem is
that Ensoniq went under a few years ago.
It’s very hard to get replacements parts
for this particular instrument.
What ends up happening
is that old keyboards
become “organ donors” for
instruments still in use.

I did finally find
someone
who is about hours drive away
who can take a look at it.

The problem I see now
is financing this repair project.
I don’t think I should have to pay this repair bill.
I really don’t.
And I have sent a letter to that end.

It appears as though
the cost of repair may be covered.
So now,
we play the
“wait and see” game.
I take her to the tech tomorrow morning.
We must wait and see
what the technician tells us
about her condition.
And then,
we wait and see if the cost will, in fact, be covered.

You know,
it’s like watching an old friend die.
It’s like,
there may be a cure,
but the illness may just be too far advanced.

Yeah. . .
It’s like driving by my old house. . .
I sold it to a nice young family.
But now the house is empty. . .
. . .foreclosed. . .overgrown grass, etc.
Not exactly what I would have hoped
for that old gal. . . .

I don’t know how much damage was done
to the keyboard.
It may be a lot
or just something very small,
something very easy to fix.

But you know,
I have been fearing the worst.

I guess all electronic instruments
will die sooner or later.
But you know,
it would have been much easier
to watch her die of natural causes.
The irony is
that my instrument nearly died
at the hands
of someone who claims to be pro-life.

I did not volunteer countless rehearsal hours
to be prepared for an event
only to have my instrument damaged
by someone I don’t even know.

And even though
there are many who are supporting me
through all of this,
many who understand what I feel here,
the person who damaged my instrument
has yet to offer an apology.
And you know,
I really don’t think he ever will.
And to tell the truth,
I think that hurts me just as much.

My friend, Marcy,
always reminds me
that everything happens for reason.
I’m still praying
to see what the reason is,
what the lesson is for me in all of this.

You know,
I ended up in an urgent care facility recently.
I wonder what connection,
if any,
this has to do with my ailing keyboard. . . .

They say pets imitate and resemble their owners.
I wonder. . . .
Do pastoral musicians
resemble their musical instruments???

How to teach a choir a new song

OK.
I know this sounds like a silly title
for a blog entry.
But you know,
there really are different ways to teach.
I'm not just talking about
different leadership styles.
I'm talkin' about how people learn.

Specifically,
I wanna write about how people
who don't read music
learn a new song.

First of all,
if you have many musicians,
I would recommend at least a once a month rehearsal
for musicians. . .apart from the choir.
If there is only one guitarist
and a pianist. . .well, that might work.
But really. . .if there are several guitarists
or other instrumentalists
I would recommend planning your liturgies
at least one month in advance.
Pass music out.
Let musicians look at music at home.
Now. . .I'm not saying
not to welcome them to a rehearsal.
But I really think that musicians
should rehearse as musicians separate from the choir.
Musicians should not be learning music
at the same rehearsal that the choir is.

Why do I say that?
It's not just about the musicians.
It's about the choir.

To put it simply,
people learn a new song best
voice to voice.
In other words, sing it and let the choir repeat it back.
No instruments.
Not even a basic accompaniment.
Just voice to voice.

There can be such a thing as too much music,
at least as far as learning a new song goes.
Too much music, too much accompaniment
can throw folks off.
They are searching for the melody or harmony.
Give them the whole score and it lengthens the learning process.
Now,
most of us rehearse 1 1/2 to 2 hours a week.
Time is precious commodity.
Don't we want to shorten the time it takes
to learn a new song?
And, again,
let me say that I'm writing here
about a choir whose members don't read music.

Another tactic,
perhaps even before the voice to voice approach,
is to recite the text in rhythm.
I do this ALWAYS
the children's choir I direct.
The thing is,
once you start,
once the choir knows that this is the process
they will begin to pay more attention
when you speak the text in rhythm.
Almost as if by some sort of osmosis
they will learn how to listen better.

If a syllable has more than one note,
stretch the note out with an "h"
as you recite that text in rhythm.
(This is the Day
the Lord - hord- has made.)
Speak it in rhythm a few times.
Then, pluck out the melody on the piano.
Just the melody.
Then, go voice to voice.

And, again,
speaking of the choir
whose members don't read music,
I would suggest rehearsing the song
for three weeks
(or 3 rehearsals)
before introducing it at mass.

Why do I say this?
Because even though the song may be very easy,
many of them will forget their part
once the return home from rehearsal.
They may remember that it was upbeat
or solemn.
They may remember that the men did something different,
or that the key was high or low.
But they might not remember their specific part.
And next week. . .
well. . .let's face the truth here. . .
some of them might come next week.
And then you'll some who come next week
who weren't there when you introduced the piece.
So. . .that's why I suggest three rehearsals.

I know, I know.
Attendance is important and people should come
to every rehearsal.
But that, my friends,
is another blog entry.

Just remember these two things,
if you don't remember anything else:
1) Speak the text in rhythm
2) Teach the song voice to voice.

Please. . .
. . it will save us all so much time and frustration. . . .

More On Decisions

Recent decisions in my life
Have changed my worship
And rehearsal schedule.

Because of recent decisions made,
I now serve as a pastoral musician,
And choir director,
For six different liturgies
In two different languages
Rehearsing five different groups
In three different parishes.
Every week.
OK. . .well… .one of those groups
Only rehearses every other week.
And not all of those groups sing every week.
And not all of those masses have a choir.
But. . .still. . . .my worship schedule has changed.

I know.
it sounds a bit frazzled,
But it isn’t really.
My music planning tends to overlap.
It’s really only a challenge
In the sense that these parishes
All use different hymnals.
For the most part,
The day and time of each of these liturgies
And rehearsals don’t conflict.

Well. . .at least they didn’t
Until late summer
When I was formally asked
To form/direct a children’s choir
For one of these parishes.

A part of me really wanted to do this.
Of all the groups I have led over the years,
There are two kinds of groups
That are just so life giving to me:
Women’s choirs
And
Children’s choirs.

These children are bilingual,
Though not all of them are bi-literate.
Their parents primary speak Spanish.

This children’s choir, however,
Would require me spending much time
In inner city Detroit.
I’ve been involved in an inner city ministry before.
It really takes a special commitment
To this ministry.

A part of me resisted. .. .
The distance to drive
(especially in snowy weather),
The pay would be meager,
And just the plain messiness
That comes with inner city work.

Don’t get me wrong.
I firmly believe that an inner city ministry
Brings forth great blessings to those involved.
But the pastoral musician
Called to serve in such a place
Must have the vision
To see beyond the messiness
And peal away the layers
To bring forth the gems that are hiding there.

The week to week involvement with the children
Would require a slight change
In my involvement
With the primary parish I serve in.
That seemed to work itself out
Without too much of a kerfuffle.
At least,
It did at first.

But then. . . well. . .
I was asked to prepare the children for Christmas.
I had to think long and hard about that.
I had to pray, reflect and discern.
To accept this
Meant that I would not be present for Christmas
At my primary parish.

In the end,
The decision I made
Was to spend this Christmas
In this Southwest Detroit parish.

This would still require me
To prepare Christmas with my primary parish,
Although other musicians,
Guest musicians,
would accompany.

No, this was not an easy decision to make.
And certainly not one
that will earn me any income.

In fact,
I will end up in the red financially by doing this.
But, as I said in a previous blog entry,
Decisions made via a true discernment process
Are not about money.
If it were,
I probably wouldn’t be involved
In any kind of ministry at all.

Inner city ministry is a special calling.
It’s messy.
Participants are often transitory.
There’s a different concept of time,
A different concept of structure.

There is a deep reverence
Given to popular piety,
A strong commitment
To popular faith expression.
Sadly,
the gift of popular religiosity
is often looked upon as superstitious
or not needeed
in suburban parishes.
So, this aspect of this particular parish
really is gift.

Liturgy is noisy here.
Really.
The liturgy is noisy.
For those of you who like that quite time after receiving the Eucharist
Or after the readings. . .well. . .
You can just forget that.
It’s not gonna happen. . .
. . .at least, not at this particular parish.
(another reason to seek the quiet
that comes in the early morning hours.)

Children acting like children abound.
Sometimes parents don’t realize
That they ought to be in the cry room
Or just watched a little better.
Now, that’s not a complaint nor a criticism.
In fact,
It’s praise.
Young couples with young children
Are going to church in droves
In the inner city, at least, in this parish.
How awesome is that?
I think that is absolutely magnificent.
But that creates…well. . .a messy and noisy liturgy.

If you can’t become a part of the messiness
Of this type of liturgical life
Then inner city ministry is not your calling.

If you can’t see the tremendous possibilities
That lay dormant
Waiting to blossom and become,
Dormant in the children
And in the noise,
Then inner city ministry is not your calling.

If you are the person in the pew
That is complaining because some wayward child
Just ran down the center aisle
And the parent is nowhere to be found,
Then inner city ministry is not for you.

If you are the person who realizes
That mom and dad both work
And one of them is still struggling
To get their immigration papers in order
And that even though their three-year-old daughter
Just ran down the aisle
It’s consecration.
And they need to be in the moment,
In the sacred space of the moment. . .
.. .well, maybe then you realize
the gift that is inner city.
The little girl isn’t going anywhere.
In fact,
She’s in church.
What an absolutely fabulous place for her to be.
It’s noisy and messy.

But mom and dad and daughter,
With all of their life’s struggles,
Are in church.
I praise God for that
And I’ll find my personal quiet time with God.
Some other time.
For this liturgy
Is a communal prayer moment.
And in order to be in the communion
One must accept the mess
And the noise that comes with it.

That’s not to say
That we shouldn’t work
At creating sacred silence in the liturgy,
At having parents use the cry room.
It’s only to say
That inner city liturgical life
Is a very unique experience, indeed.

There is also great creativity
In an inner city ministry.
When people don’t have a lot of money
To accomplish their goals
They find some very creative ways
Of reaching those goals.
And this is one thing that I absolutely love:
The Creativity.

Now, don’t get me wrong.
I am in no way saying that suburban folk aren’t creative.
It’s just a different sort of creativity.
And as a poet and musician,
I find that I am constantly seeking out
Different forms of being creative.

Having said all of the above
I realize that I am the musician
That can see those gems, those pearls,
That are lying dormant,
That are waiting to grow and become. . .
. .. I have the eyes that see
the gift that comes in the messiness.
I can see the gems in the children.
I can see the great gifts
That this inner city parish
Can give to the larger church.

If I didn’t see it,
This decision
Would not have been so hard.

And yet,
There are some who have treated me
Absolutely terrible because of it.
So be it.

Of all of the things I learned in Cursillo,
I think this is what stays with me most:
“To See, To Judge, To Act.”
The thing is,
If you can see it
You have a responsibility to act upon it.

And I think maybe
Those who aren’t happy with my decision
Probably just can’t see it.

I know that I will eventually
Be called to make some other decisions later.
But that bridge cannot be crossed
Until she presents herself.
And with the clustering process,
It would seem that some paths are being made
For me, and for others,
That aren’t quite totally visible yet.
I cannot decide to continue on any one path
Until all of those paths are set clear before me.

And what of my primary parish?
Who will lead music for Christmas?
Well, first of all,
There are some very competent musicians
Who are a part of the music every week.
It certainly is not a situation
Where no one was left to lead music.
And, to be quite honest,
I was a bit surprised
At how easy it was
To find a guest organist/pianist
For each of the Christmas masses.
And even though one musician
Who had previously committed to lead music
Then recanted their offer to help,
It was by the grace of God
That another musician
Quite literally picked up the phone
And called me to say,
“Here I Am!”

In a previous blog
I wrote about how some decisions
Bring about gifts we never would have expected.
One of the guest musicians I found
Was actually feeling a bit out of sorts.
This was going to be the first year
That this person
didn’t serve as pastoral musician for Christmas
In many years.
This person actually thanked me
For the opportunity to sing God’s praises
For the celebration of Christmas.
But you see,
It takes my not being present
To create this opportunity.
It takes my being absent from music
To give the gift of music to another.

And I must be totally honest.
The clustering situation really is taking it’s toll on me.
A part of me wishes
We would just go ahead and get on with it.
Cluster us.
Merge us.
Whatever it is we are to be,
Just create it already.

If some of us will lose our jobs,
Well. . .tell us already.
If our mass schedule will change,
Let’s go ahead and change it already.
If we must get a new pastor
Or worship in a different church building,
Why can’t we just get on with the process
And do it already???
I’ve been at this primary parish
For 3½ years now
And while I knew and understood
That this process was taking place,
It just amazes me
How much the clustering process
Is just dragging along.


I am not the type of pastoral musician
Who comes in just to “fill in the slot,”
Making sure that this mass or that mass
Has someone “doing” music.
I need to belong.
I am not the person who just comes in,
Plays for mass and then leaves.
I have an ardent desire
To belong to the community I serve in.

“To See, To Judge, To Act.”
I would rather act
Than react.
And I can only act
With the information I have.

Spending Christmas in southwest Detroit is a process.
I am creating some new friendships,
Developing some new relationships
That I am very happy to have.
The inner city will probably never
Pay a salary to a pastoral musician/music director
That a suburban parish can.
But I find that I do belong to this community.
And, whatever else may happen with the clustering process,
I have a great weight lifted from my shoulders
Knowing that this parish
is willing to adopt me,
If only to prepare children for Christmas.
Do you understand?
I belong.

I hope you enjoyed the song, Mi burrito Sabanero.
This song is one of the many songs
that the children of Detroit
are preparing for Christmas.
And you know,
I can teach them this song.
If I couldn’t, well, the decision to do Christmas
In Detroit wouldn’t have been so hard.
But I can teach them.
And if I don’t teach them,
. . .well. . . that would make me
About as useful
As the person from that gospel story
A few weeks ago
Who buried his talent.
I don’t know about you,
But I can’t own that.

The Cursillo taught me
“to see, to judge, to act,”
and so, I did.

My sincerest apologies
To those who feel slighted by my decision,
For that was never my intention.
And please realize
That there are other circumstances,
Circumstances that I cannot type
On to this electronic parchment.
But rest assured,
these important decisions
are always made by yours truly
in and with a discerning Spirit.

God Bless on us on this special Day
(December 12th)!
And God bless the children
who love to sing about the Bethlehem Burro!

The Cluster Monster

I attended
our parish worship commission meeting last night.
There was a bit of tension during the meeting
As we discussed various topics.

But in all honesty,
I created some of that tension
With my brutal honesty.

You see,
I have made some decisions in recent months
In regards to my ministry.
And some of those decisions
Were already out in the open.
Some of those decisions
I had already discussed with the pastor.

But the last decision,
Well, let’s just say
I spilled the beans
at the worship meeting last night.

I won’t detail those decisions
Here on the blog
As those are topics best held in another forum,
Specifically, the parish setting.

But I think it is most appropriate
To share in this blog
One of the “whys” of my decision.
And I think it is appropriate
Because there may be other pastoral musicians
Who now find themselves
In the same situation that I do.

One of the reasons for the decisions I have made
Is greatly influenced
by this monster named “Clustering.”
In all honesty,
I think this is nothing more than semantics,
Nothing more than the ecclesial vocabulary for “Downsizing.”

In my opinion
Clustering is only a stop gap,
Something that will only delay dealing
With the inevitable problem:
The Clergy Shortage.
And in fact,
I believe that we are committing
A sarcedotal genocide
By giving these good men
Two or more parishes,
Which only increases stress levels,
That, in turn,
Leads to all sorts of health issues.

I have more views on clustering,
But I’ll stop with that one.
Whether or not I like it,
The Cluster Monster (see image above)

is visiting our churches.
And, somehow,
We must find a way to deal with it
All the while keeping the faith.

As a pastoral musician,
I find that I must find a way
To remain standing and active in ministry,
Regardless of who gets clustered with whom,
Regardless of which parishes close.

Jeanne Cotter,
Perhaps the greatest and best liturgical pianist
Of our time,
Once said,
“Sing as if your life depended on it.”
And for those who are musicians she said,
“Play as if your life depended on it.”
What wisdom.
For the fact is,
If you are truly a pastoral musician
Those words ring true.

But lately,
It gets harder to sing the song
With all the uncertainty of clustering.

Will the mass I sing for
Still be a part of the parish schedule?

Will the parish I serve in
Remain opened, or will it be closed?

Will I be singing in a different church,
A cluster partner church,
One year from now?

Will I be singing with the same choir
Or a different choir?

Will I be accompanying on the same piano?
An electronic piano?
A pipe organ?
An electronic organ?

Will I be singing from the same hymnal
Or a different hymnal?

Will I be preparing worship aids each week?
Or will I be preparing LCD projected hymns????

From the beginning,
I did not like the clustering process.
But in as much as it is a struggle we share,
I respected the struggle and the processes thereof.
After all, there is growth in struggle.
However, the process has not respected us.

Originally,
St. Helena in Wyandotte was our cluster partner.
The pastor was then assigned to St. Stan’s in Wyandotte
and the cluster shifted.
We lost our original dancing partner.
St. Helena was now to cluster with St. Stan’s
But rather than formally cluster with her new partner,
St. Helena was subsequently closed.
Yes, closed.

In all honesty,
This scared me.
But more on the illogical process of clustering. . .

Our current cluster partners are
St. Francis Xavier in Ecorse
And Our Lady of Lourdes in River Rouge.
However,
that process took a back seat as Fr. Charles
(Pastor, St. Elizabeth in Wyandotte)
is now involved with yet another cluster,
St. Patrick and St. Joseph, both in Wyandotte.
While we have respected the cluster process
With St. Francis and Lourdes
(joint religious ed, pulpit exchanges, parish directory, etc.)
The cluster process is not respecting us.

Five parishes are now dancing together
And least two of them are sharing a partner
(oops, I mean pastor!)

As one employed by the Roman Catholic Church,
I find myself asking the question,
“Where will I be when the process is completed?”
That is a very tough question to answer
When the rules of the game keep changing.

Many in the United States
Are worried about employment,
Have already lost employment,
Are struggling financially.

Serving as Pastoral Musician
Is not only my ministry,
It is my livelihood.
In this sense,
Clustering is a real life issue for me.

My sincerest apologies
To those who may have felt some tension
At last night’s meeting
Because of what I shared.
But I would rather be brutally honest
Than leave folks second guessing
Because that only leads to gossip
And untruths being spread.

And my apologies if my sarcasm offends you.

But I have always likened myself to the cactus,

standing tall, sometimes flowering,

with just enough pointy edges for protection.

(probably an image I picked up in my youth,

being the daughter of mexican immigrants and all. . .)

Anyway, The Fact is that
The Cluster Monster
Is not a fictional character.
He’s real, folks.
And he’s hiding under the pew.
I know.
I’ve been staring him in the face.

I thank God
For the many blessings I have received in my ministry.

And I remain ever grateful to the angel
Who teaches me to be proactive.

St. Cecilia, pray for us.
St. Helena, Pray For Us.
St. Stanilaus Kostka, Pray For Us.
St. Patrick, Pray For Us.
St. Joseph, Pray For Us.
St. Elizabeth of Hungary, Pray For Us.
St. Francis Xavier, Pray For Us.

Our Lady of Lourdes, Pray For Us.

Pastoral Musicians, Please Help Me!

I really need the help
of those of you who are pastoral musicians.
I tire of looking through the websites
of the publishers of pastoral music.
I've looked through OCP, GIA and World Library.
I hope someone can help me.

What is it I'm looking for?
I'm looking for a sung mass.
That is to say,
I'm looking for mass with a sung presider's part.
And this mass I'm looking for
must be in Spanish.
And not just a Spanish translation
of something.
I want something with true Latin musical style.

The only mass setting I've found
with a sung presidor part is
"Misa del Pueblo Inmigrante,"
by Bob Hurd and Jaime Cortez.
This is a wonderful mass setting
and I am currently using it.
But the truth is
this is really only a sung preface.
And while I may use this,
I am really looking for a sung Eucharistic Prayer.
Does anyone know of any?

There are many fine pieces of music in Spanish.
Misa Luna by Peter Kolar is a work of art, indeed.
Misa Salvadoreña is absolutely beautiful.
And, sooner or later, I am certain that I will use both of these works.

But for the immediate
I really need an arrangement
with sung presider part.

I'm also looking
for a mass setting for children in Spanish.
And here, too, we find a lot of good music
offered by various publishers.
But, again, I seek a mass setting
with not only acclamations
but with sung presider part.

Maybe the two mass settings I'm looking for
will end up being one mass.
It could be as such
that there is a simple setting of a Children's mass
that could also be used for the entire parish.

It's just that I find myself in a parish
where the pastor is a musician.
He love to sing and play his guitar.
And he is working hard
at developing the music program in the parish.
What a grace filled moment, indeed!

But you know,
I just can't seem to find
this that I seek.

Any suggestions?

. . . .I know, I know. . . .
. . I'm gonna hafta break down
and work with on this project with my pastor
and just create the music we need. . . .
. . I already have a Eucharistic Acclamation
for a Children's Eucharistic Prayer in head
al ritmo huapango. . .
"Gloria al Señor en el cielo. . ."

. . . . But you know,
if there's already something out there
that I just don't know about
please let me know. . .

Fiddlin' Around

Last weekend I went to the Irish Festival
here in Wyandotte,
the city where I live.

Anyone who knows me very well,
knows that I just love ethnic festivals
and art fairs and what not.

I love all things creative and artistic,
even when not of the genre I prefer.

I mean,
I love a good Mariachi.
But still, I attended the Irish festival.

So, what’s my point?
At this Irish Festival
I had a most wonderful time.
A wonderful and talented group
of young musicians performed, and,
well, what can I say but that they were just awesome!

Being a musician,
I can appreciate the quality of their musicianship.. .
. . taking cues from each other,
acknowledging each other,
assisting each other.

And their preparedness and confidence. . .
. . what a gift!
And they just seemed to be having
one good time!
To top it all off,
they were all teenagers!

Now, why would I blog about this
in a liturgy blog?
As always,
I try to make the connection
between liturgy and life.
I mean,
sometimes we go to church
and listen and pray and sing,
but make no real connection
with what goes on
in the church building on Sunday
and what goes on in everyday life.

The point is,
we need to celebrate the gifts God has given to us.
And we need to expand them
and share them.
And we need to really appreciate
the gifts that others bring,
even when we prefer another genre of gift.
And quite often
that gift is not a part of the Liturgy of Sunday,
indeed,
not even a part of the ecclesial structure at all,
but a part of the Liturgy of Life.

Laos Ergon - remember that?
The work of the people.
In the Liturgy of Life
we are constantly sharing the gift,
expanding the gift,
receiving the gift,
accepting the gift,
giving the gift.
Sadly,
unless it’s connected to the institutional church,
many just plain don’t recognize the giftedness of others.

These young people celebrate,
share, and are obviously
constantly expanding their gift.

Their parents recognized the gift,
and did what they could,
are doing what they can,
to bring out the gift.

Their teachers recognized the gift,
and did what they could to make the gift more.

And, together,
the community around these young people
are bringing this gift to others. . .
. . .which is how I came upon them
at the Irish festival.

The thing is,
when you celebrate the gifts
that our Good and Gracious God has given you,
well,
that plain and simply is
a song of praise to the Master Designer.

Enough of Rubi’s Ramblings.
Here they are
in a video I took in Wyandotte, MI.
Don’t forget to visit them at their website:
FiddlersRestrung.com